In a distant future New York medical student Driscoll Rampart accomplishes his internship at Rusta, a rural planet that doesn't revolve around its axis and therefore is divided into contrasting halves of eternal day vs. eternal night. One is a Victorian-styled colony, the other a medieval kingdom. Both leave Rampart in a state of constant wonder, as he finds his way among humans and aliens, strange dreams and even stranger reality, a dark keep and a red sea, and more universal matters of war and peace, good and bad, love and hate and sickness and health.
This "movie" (actually a pilot for a never-produced series, I believe) is one of the more original science fiction concepts to see production in years. The story is of a young medical student in the distant future, fulfilling his internship on a planet that is so far removed from everything that its inhabitants live a largely technology-free lifestyle. The planet is divided into two halves that are often at war, and as we join the story it is just entering into a tenuous peace.
White Dwarf is part futuristic science fiction, part Victorian/medieval fantasy, and part television drama (having many of the best qualities of each). With many such stories, we get no sense of history or depth to the characters, but with this one we are not let down. We are given fleeting glimpses of deeper things (only glimpses at times because, one might presume, it was written to continue as a series, to establish relationships to be developed further as time went on). There are hints of vast histories for the characters, the places, and the ideas the underlie so much of the story. A fine example of this would be the apparently long-standing and deep relationship between Osh, alien warden of "the Keep" (the planet's prison), and the prisoner listed only as "Lady X" in the credits (played by Katy Boyer).
Special accolades should go to Paul Winfield for his portrayal of Akada, the doctor under whom Driscoll Rampart serves his internship, and CCH Pounder, who plays a nurse in Akada's clinic. Both portray their characters with generous portions of substance and apparent ease. The rest of the cast do reasonably well, only occasionally stumbling over stilted dialogue. This is most noticeable with Ele Keats' performance as Princess Ariel, whose dialogue is always very formal, resulting in a performance that comes across very wooden. For the few of her lines that are more relaxed, her performance improves, serving mostly to emphasize the stiffness that we see the rest of the time. Perhaps this just isn't her genre.
Perhaps the greatest tragedy is that this unique piece of work is no longer available even on video. This is rare and inspired fiction, a must for anyone who's growing tired of the recycled ideas we see so often, and who wishes to see something distinctly different. As a life-long sci-fi and fantasy aficionado, I consider myself very lucky to have acquired a copy, and enjoy every viewing as much as the last. We can only hope that it will not be doomed to disappear forever into obscurity. Something this unique deserves far better than that.
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